Then, from bar 21, minims and semibreves prevail.
As one might expect, when the risolutione moves in semibreves, the harmonic rate of change tends to be slower than when it occurs in minims.
Each of his phrases begins a pair of descending minims, harmonized separately.
Ascenders have tapering wedges, while the wedges on minims are heavy.
Now the bass clarinet follows the cello after only one minim.
Provided the harmony is varied, whatever note-values are most suitable may be used: now breves, then semibreves or minims, or other values.
In practice, given a minim equivalence, both these changes would seem to be largely redundant, only providing for an easier notation to read.
Or we could imagine the four mensurations as four different sets of chain lines pressed into the neutral medium of successive minim durations.
